LINK TO 2006 CONFERENCE

There will be van service to and from the Chamizal before and after the performances.

The AHCT cordially invites you to its hospitality room each night after returning from the Round Table.

Hector Noguera Nos Cuenta La Vida Es Sueño
from Calderón de la Barca

Teatro Camino, Chile

Hector Noguera, director

Session I (Salon A)
Chair: Donald R. Larson (The Ohio State University)

Jason Yancey (Brigham Young University)
Monologues into Megabytes: A Director’s Guide to Applying Virtual Reality Theory to Comedia Rehearsal

Valerie Hegstrom (Brigham Young University)
Comedia Scholarship and Performance: From the Archive to the Stage

Kathleen Costales (The University of Dayton)
Re-writing Rape: The Refundición of No hay cosa como callar

Bruce R. Burningham (University of Southern California)

Richard Tarlton, Lope de Rueda, and the Poetics of Jongleuresque Performance

Participants:

Esther Fernández (University of California, Davis)          

Donald R. Larson (The Ohio State University)

Maryrica Ortiz Lottman  (University of North Carolina at Charlotte)

David Pasto (Oklahoma City University)

Constance Rose (Northeastern University)

La  farsa de Inés Pereira
Gil Vicente

Teatrela (Caracas, Venezuela)

Costa Palamides, director.

Session VIII (Pancho Villa)

Presenter and Discussion Leader: Darci L. Strother (California State University, San Marcos)

9:00-10:30            Open Session: Considerations on Comedia Pedagogy

Session IX (Kohlberg)
Chair:  Christopher Gascón (State University of New York College at Cortland)

Mario Ortiz (University of South Florida)
“Yo, (¿)soy quien soy (?)”: La mujer en hábito de comedia en Valor, agravio y mujer

Jonathan Ellis (Oklahoma State University)
El Divino Narciso de Sor Juana: Its Tradition and Originality

María José Delgado (Capital University)
La respuesta: Yo, la peor de todas o las trampas del lenguaje: Representando a Sor Juana

Carmela V. Mattza (University of Chicago)
Lo ideal y lo real de la privanza en Cómo ha de ser el privado

Anthony J. Grubbs (Indiana University)

A Multifaceted Diffusion of Dramatic Theory: The Case of Tirso’s Cigarrales de Toledo and El vergonzoso en palacio     

Roundtable: 

Realizing a Dream: The Oklahoma City Theatre Company Production of Life Is a Dream, 2004

Participants :

            David Pasto (Oklahoma City University)

            A. Robert Lauer (University of Oklahoma)

            Christopher Weimer (Oklahoma State University)

Ezra S. Engling (Texas A & M International University)

The Personal Is Political: Calderón and the Moors in Amar después de la muerte o El Tuzaní de la Alpujarra

Moisés R. Castillo (Trinity College)
¿Ortodoxia cervantina?: Un análisis de La gran sultana, El trato de Argel y Los baños de Argel

11:45-12:15

Maryrica Ortiz Lottman (University of North Carolina at Charlotte)

The Call of the Natural World in Los baños de Argel

Session XIII (Kohlberg)
Early Modern Dramaturgas: From the Page to the Stage
Organizer:  Susan M. Smith

Chair: Barbara Mujica (Georgetown University)

Donna Chambers (Georgetown University)

Angela de Azevedo : From Promise to Performance

2:00-2:30

Susan M. Smith (Hampden-Sydney College)

Staging Sor Juana’s Allegories

2:30-3:00

Sharon Voros (United States Naval Academy)

Leonor de la Cueva y Silva at the Three Hundredth Year of Her Death

1:30-2:00

Angel Sánchez (Arizona State University)

“De tal palo tal astilla”: en torno a la caracterización del Duque de Ferrara y de su hijo Federico en El castigo sin venganza

Jane W. Albrecht (Wake Forest University)

El caballero de Olmedo: From Page to Stage and Tragicomedy to Tragedy?

Robert M. Shannon (Saint Joseph’s University)

Lope’s Manuscripts: El Brasil restituido

Session XV  (Pancho Villa)

Negotiating Power in the Golden Age: Looking Beneath the Surface
Organizer: Kathleen Kish (San Diego State University)

Chair and Commentator: Kathleen Kish (San Diego State University)

3:15-3:45

Mary Blythe Daniels (Centre College)

Actresses or Saints?: The Rhetorical (Mis?) Representation of Francisca Baltasara de los Reyes and María Calderón

3:45-4:15

Darlene Múzquiz-Guerreiro (San Diego State University)

The Contradictions of Status in Tirso’s El burlador de Sevilla

4:15-4:45

Elaine Bunn (Drew University)

Being Don Juan in Post-War Hollywood

David Gómez Torres (University of Wisconsin-Oshkosh)

Las políticas del miedo: El retablo de las maravillas de Cervantes

Bradley J. Nelson (Concordia University)

Icons of Honor: The Staging of Blind Faith in Lope and Cervantes

Luzmila Camacho Platero (Utica College of Syracuse University)        

Matrimonio, celos y agresión en El viejo celoso de Miguel de Cervantes

Director: Paco Ramírez (University of California, Santa Cruz)   

Quien mal anda mal acaba
Juan Ruiz de Alarcón

El Consejo Nacional para la Cultura y las Artes (Mexico City, Mexico)

Marta Verduzco, director

Heather Bamford (Georgetown University)

Cervantes’s La cueva de Salamanca: Metatheatre’s View

Ascen Sáenz (TheUniversity of Georgia)

El rufian viudo: ¿entremés burlesco?

Gwen Stickney

Intercalated Entremeses, Acting, and Gender in La niña de los embustes, Teresa de Manzanares

Anthony R. Smith (University of Oklahoma)

La estructura y metrificación de La entrada del rey en Portugal del alférez Jacinto Cordeiro

Jaime Cruz-Ortiz (University of Oklahoma)

Jacinto Cordeiro, entre Portugal y la escuela lopesca

Daniel Breining (University of Wisconsin-Stevens Point)

El teatro mexicano colonial de Eusebio Vela y los aparatos del estado althussserianos

Yuri Porras (The Ohio State University)

Amor loco in Yo por vos y vos por otro : Staging the Musical Scenes

Christopher Gascón (State University of New York College at Cortland)

Costumes, Props, and Stylization in Isabel Ramos’s El perro del hortelano

Hugo Medrano, Artistic Director of GALA Hispanic Theater in Washington, D.C.

                        Una prueba para clásicos: propósito y vitalidad

Hugo Medrano is the Co-Founder and Producing Artistic Director of GALA Hispanic Theatre in Washington, DC. He has performed in and directed classical and contemporary plays in Argentina, Spain, Costa Rica, El Salvador, New York, Miami and Washington and hosted artists from throughout the United States and Latin America. He has directed more than 100 productions, including La dama duende, El burlador de Sevilla, and La verdad sospechosa. For the GALA production La dama boba he received a Helen Hayes nomination for Outstanding Direction. His performance in El beso de la mujer araña earned him the 1994 Helen Hayes award for Outstanding Lead Actor in a Resident Play, the only Spanish-speaking performance ever so honored. 

His multi-national and multi-disciplinary educational background includes a B.A. in Theatre (including Set & Costume Design) from Escuela de Teatro de La Plata in Buenos Aires and a Teaching Degree from General Pico (La Pampa). It also includes study at Madrid's Centro Dramático and Miguel Narro's Teatro Estudio, as well as numerous workshops in Buenos Aires, Madrid and Washington. In addition to several Helen Hayes nominations and an award, distinctions include: Excellence in Entrepreneurship and Community Involvement (Latino Economic Development Corporation, 2000); the 1998 Founders Award from the Cultural Alliance of Greater Washington; a Public Humanities Award from the DC Humanities Council (1998); a Communications Award from AT&T/Hispanic Magazine (1994); and a 1989 DC Mayors Award for Artistic Excellence. Hugo remains the longest-serving Artistic Director in Washington, DC.

Seis oficios, a saber
from Fernando de Rojas and Gil Vicente

Teatro Naque (Bolivia)

Maritza Wilde, director